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What’s in a song: the case of Christopher Nolan’s Inception

机译：歌曲中有什么：克里斯托弗·诺兰（Christopher Nolan）的《盗梦空间》

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Overblown cinematography and excess of visual attraction are the key features in Christopher Nolan’s Inception (UK/USA, 2010), a film that eventually exhausts itself in its numerous tours de force. Yet, Inception’s multi-levelled phantasmagoria cannot escape to the mere materiality of the objects that regularly invade its cinematic space, and that are invoked for what they simply are: things. Throughout the film, their fastidious presence points towards a desire that Kracauer has identified as an “urge for concretion.” Not only does it provide a restraining counterpoint to the film’s constant negotiation of dream-like spaces, but it also mirrors one of cinema’s most enduring concerns: the obsession with the representation of the dense materiality of things. In Inception, one of these things — indeed, the most important of all — is not an object defined by its tactile materiality, but the fragment of a song: Edith Piaf’s 1960 recording of “Non, je ne regrette rien.” In this essay, I argue that Inception privileges a haptic treatment of this aural fragment in order to present the song as thing. While this song may be replete with pre-existing connotations that could potentially impact on the audience’s perception, its reduction to a brief fragment renders the meaning of its inter-textual potentialities illegible, but also singles out its sonic fabric in the aural foreground. Thus the paradoxical choice of a “vintage” recording that literally clashes with the glossy artificiality of the visual treatment (from objects to actors themselves). Although located at the purely aural level, the song fragment nevertheless resonates with Nolan’s well-known claim to anchor his visual effects in “real life” by giving them a “realistic style of patina”.
机译：过分的摄影和过多的视觉吸引力是克里斯托弗·诺兰（Christopher Nolan）的《盗梦空间》（英国/美国，2010年）的主要特征，该电影最终在众多巡回演出中精疲力尽。然而，盗梦空间的多层次幻影无法逃脱那些经常侵入其电影空间的物体的纯粹物质性，而这些物体仅仅是因为它们是事物而被调用。在整部电影中，他们崇高的敬业精神表明了克拉考尔（Kracauer）将其视为“固结的渴望”的愿望。它不仅为电影对梦境的不断谈判提供了约束力，而且还反映出电影院最持久的担忧之一：对事物的密集物质表示的痴迷。在《盗梦空间》中，其中一件（实际上，最重要的一件）并不是其触觉上的重要性，而是歌曲的片段：伊迪丝·皮亚芙（Edith Piaf）于1960年录制的“ Non，je ne悔恨rien”。在本文中，我认为《盗梦空间》对这种听觉片段具有触觉处理的特权，以便将歌曲呈现为事物。虽然这首歌可能充满了可能会影响听众感知的既有涵义，但将其简化成一个简短的片段后，其语篇间潜能的含义就变得难以理解，而且在听觉前景中也将其声音结构挑出来。因此，“老式”录音的悖论选择实际上与视觉处理（从物体到演员本身）的光泽人造物相冲突。尽管位于纯听觉层面，但歌曲片段还是与诺兰的著名主张产生了共鸣，诺兰通过给他们一种“真实的古铜色”将其视觉效果锚定在“现实生活”中。

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